The Trunk on the Loft

"Deyr fé,
deyja frændr,
deyr sjálfr it sama,
en orðstírr
deyr aldregi,
hveim er sér góðan getr"
omgthatdress:

glittery Madeleine Vionnet/Hattie Carnegie gown ca. 1937 via The Costume Institute of The Metropolitan Museum of Art

omgthatdress:

glittery Madeleine Vionnet/Hattie Carnegie gown ca. 1937 via The Costume Institute of The Metropolitan Museum of Art

ornamentedbeing:

c. 1870-75

The Met says: This is a nice example of an early 1870s bustle day dress worn for promenading and visiting. Skirt decoration in this period was often achieved by using two separate skirts, with an overskirt being the main source of decoration and the puffing for the bustle.The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.

(via whenasinsilks)

fripperiesandfobs:

Day dress ca. 1875
From Galliera musee de la Mode de la Ville de Paris

fripperiesandfobs:

Day dress ca. 1875

From Galliera musee de la Mode de la Ville de Paris

omgthatdress:

Peggy Hoyt dress ca. 1934 via The Meadow Brook Hall Historic Costume Collection

omgthatdress:

Peggy Hoyt dress ca. 1934 via The Meadow Brook Hall Historic Costume Collection

ornamentedbeing:

c. 1870

Hands down coolest Victorian dress ever. Check out the parasol pocket on the skirt!!!

IMA says: This two-piece visiting dress is made in two shades of gray silk faille. The skirt is lavishly trimmed with pleated silk swags, silk fringe, flounces and piping. Pleated ruching and silk fringe are also used on the bodice. The skirt has a short train and is worn with a bustle. The triangular pocket on the right side of the skirt, trimmed with buttons and cord lacing, was designed to hold a parasol.

(via whenasinsilks)

fripperiesandfobs:

Ball gown, 1890’s/1900’s
From Galliera musee de la Mode de la Ville de Paris

fripperiesandfobs:

Ball gown, 1890’s/1900’s

From Galliera musee de la Mode de la Ville de Paris